LOOK - Museum of Arts and Design

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T H E M U S E U M OF A R T S A N D D E S I G N has beenfunctioning as an international resource center for craft, arts and design since 1956.Through its collections, exhibitions, programs and publications, the Museum serves as aforum for critical debate concerning the nature of craftsmanship and the engagementwith the process that links materials, techniques, forms, patterns and concepts in allcreative work.H O W D O E S A M U S E U M W O R K ?Administration: The team, led by the Director of the Museum, determines theprograms, plans and philosophy of the Museum. It also raises funds to realize theMuseum’s goals and works directly with the Board of Governors, who guide theMuseum’s functions.Curatorial: This is the team, led by the Chief Curator, who work together todecide which exhibits will be shown, how they will look, what artwork is to beincluded, and how they are to be interpreted.Registration: Led by the Registrar, this team arranges the safe handling of artto be placed in an exhibition and maintains the permanent collections acquiredby a museum.Education: This team provides the interactive interpretation of the objects onview through the educational programs designed for children, adults and familieswho visit the Museum.Facility Maintenance: This is the team that allows the day-to-day operations ofa museum to continue: from the lights being turned on, to the safety of all whoenter the building.Security Guards: This is the team who are most often seen in a museum. Theirmain task is to protect the artwork from harm so that in the future people will beable to see the same objects as seen in a museum today. Security guards alsoare helpful to visitors who have a variety of questions.Museums are places where we can learn about the past, present, and future ofthe world around us. When the habit of museum exploration is formed at anyoung age, students learn early on that the diversity of knowledge is endless. Welook forward to welcoming your group into our galleries.3
H E L P F U L H I N T S F O R Y O U R M U S E U M V I S I T“I try, when I go to museums, to do two things. One, to appreciate what I'm looking at, just tosee it, but then to isolate a few pieces that I really look at in detail. I study and I draw not withany purpose in mind. I mean, I don't go looking for specific things. I just try to be open-mindedand keep my eyes open. It's interesting that every time I go back to the same place, I seesomething different.” Arline M. Fisch (1931- ) Brooklyn, New YorkWhile visiting the exhibition try to use all your senses. Notice the way the pieces are displayed.Are there any specific groupings of pieces you can distinguish? If you enjoy looking at one piecemore than others, can you explain why?Here are some questions and suggestions to think about as you move around the exhibition:I. What can be objectively observed?a. What is the physical description? Measurement, weight, materials used, articulation ofmaterials…b. What iconography, if any, is used? Designs, words, diagrams…c. What are the object’s formal design characteristics? Lines, shapes, forms, color,texture…II. What would it be like to interact with this piece of art? How would you handle, lift, display it?a. How would the work of art feel, move, and sound?b. What does it do? Does it have a function? How would the figures move if they werealive?c. What is our emotional response to this work? Fear, joy, indifference, curiosity, revulsion,excitement…III. What is in the mind of the artist? What are the viewers thinking and feeling? Use creativeimagining and free association.a. In order to develop possible interpretations, review all of the above information andconsider what was going on in the world when the work was produced. (Theories andhypotheses)b. Do the figures tell a story? Does the piece have underlying political or social meaning?(Understanding and visual thinking)c. Develop a program to investigate the questions posed by the material evidence.(Program of research)IV. Brainstorm about an event or situation happening in your life that you could play out as ascene or that could be made into your very own figurative sculpture. (Design themes)4
Page 2 and 3: W E L C O M EDear Educator,We are d
Page 6 and 7: S W E P T A W A Y :DUST, ASHES, AND
Page 8 and 9: HORIZONS AND SPACESMany of the arti
Page 10 and 11: L O O K :Clay […] seems to have t
Page 12 and 13: Kim AbelesGive Us This Day, 1993Smo
Page 14 and 15: D I S C U S S :Kim Abeles demonstra
Page 16 and 17: L O O K :Glithero’s [work] follow
Page 18 and 19: Jim DingilianUnspoken Conclusion (F
Page 20 and 21: D O :Form teams of 4 students each.
Page 22 and 23: The tunnel became a virtual catacom
Page 24 and 25: Vik MunizPointing Hand (Itabira Iro
Page 29 and 30: D I S C U S S :Over the years, the
Page 31 and 32: Each work grows, stays, decays—in
Page 33 and 34: Cai Guo-QiangBlack Ceremony, 20118,
Page 35 and 36: D I S C U S S :Cai Guo-Quiang’s w
Page 37 and 38: When I work on an idea, I am very f
Page 39 and 40: G L O S S A R YCERAMIC: Pottery; cl
Page 41: The Museum’s educational and publ

LOOK - Museum of Arts and Design

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